The title for this exhibition was an obvious choice: It features women in red, and it makes a strong impact.

The cartoon-like motifs, reminiscent of Roy Lichtenstein, have clear contours around individual elements in the motifs and minimal shadow effects with a flat perspective, allowing the line, form, and colors to exist without restrictions.

Similarly, the title “Woman in Red” paraphrases Stevie Wonder’s tune, which he wrote for a famous film comedy in 1984, and also “hits home” in connection with Steffen Kindt’s paintings.

Moreover, nine of Steffen Kindt’s paintings can be related to the truly great and unforgettable film ‘Thelma and Louise’ from 1991, which sets the stage for the paintings’ content and titles. The titles are a chapter in themselves. Steffen Kindt’s works are like the screenplay to the film.

The two blonde, sexy women are featured in seven of Steffen Kindt’s 19 paintings – all titled “At a Rest Area on Highway E…,” where the film’s action picks up – observed by a male face reminiscent of one of the 1950s comic strip heroes: the detective Rip Kirby.

Here he is not the detective, but the voyeur, intensely observing the various scenes.

These seven paintings are constructed like a comic strip, deviating from typical comic strips in that Steffen Kindt’s versions can be read in multiple ways: one can read them from right to left, from the bottom up – or vice versa!! This constantly offers new perspectives on the paintings.

Moreover, the individual elements are masterfully assembled and cropped by Steffen Kindt. They are like puzzle pieces with close-ups of various elements.

Otherwise, it is the cropping that sets the agenda, focusing attention on what the artist deems most important in his works. Steffen Kindt fully masters this, thereby underlining his skill in the contemporary language of painting.